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Raising the Curtain

It is his ability to reveal the meaning and emotion embodied in the text and the music that has solidified William Hite’s reputation as an engaging and expressive artist. He has performed orchestral engagements, recitals and operas throughout North America and in Europe in some of the world’s most prestigious and interesting venues including Carnegie Hall, Symphony Hall in Boston, Orchestra Hall in Chicago, the Kennedy Center, Theatre an der Wien in Vienna, Versailles, the Herodion at the foot of the Acropolis and Theatre de la Ville in Paris.

In the 2017-18 season Mr. Hite will sing title role in the premiere of Eric Sawyer’s opera The Scarlet Professor which deals with the tragic downfall of Smith College professor Newton Arvin in the early 1960s. On the concert stage he is pleased to return to the Charlotte Symphony for Messiah, the Fairfax Symphony in Mozart’s Requiem, and Boston's Cantata Singers for cantatas of J.S. Bach. He will sing Beethoven’s Ninth Symphony with the Landmarks Orchestra at the Hatch Memorial Shell in Boston. In recent seasons he has sung with Odyssey Opera in Gluck’s Ezio, Emmanuel Music in Mozart’s Apollo et Hyancithus, the Token Creek Music Festival in Schubert’s Die schöne Müllerin, the Buffalo Philharmonic in Bach’s St. Matthew Passion, the Apollo Chorus of Chicago in Messiah, the Evansville Philharmonic Orchestra in Elijah, the Champagne-Urbana Symphony Orchestra in Creation as well as Britten’s War Requiem, Nocturne and Serenade for Tenor, Horn and Strings, and Handel’s Jephtha and Judas Maccabaeus. For more details about these and other events, please see the full SCHEDULE.

Recent Accolades

Recent Accolades

In June 2016, Jeremy Eichler, writing for The Boston Globe, noted, "William Hite’s singing as Massimo [in Gluck’s Ezio with Odyssey Opera] showed both subtlety and a crystalline articulation of character."→ Read the full review.

Of the same performance, Steven Ledbetter wrote for The Boston Musical Intelligencer:
“William Hite was superb both acting and singing as Massimo. He had the clearest Italian diction of any in the company. Though his part often causes him to skulk around, he must be by turns the murderous adviser, the loving father who still wants to force his daughter into a marriage she does not want, and the plotter afraid of being found out. All of these aspects he projected with authority.” → Read the full review.

And Bachtrack’s Kevin Wells said: "Diamond sharp diction, elegant, accurate singing, and sensitive phrasing allowed William Hite to meet every vocal and dramatic challenge, most prominently in Act I’s lyrical 'Se povero il ruscello,' which began as an innocent pastoral then morphed into a venomous, insinuating whisper in its repeat." → Read the full review.